Ten Questions with...Justin Eade

Justin currently runs OHMO Entertainment, a theatre and film production company based in Norwich. He also serves as Artistic Director for Joan Brink Theatre Company, Director for Actor Screen UK, Assistant Director of Slow Theatre Company, Acting Teacher at Slow Theatre Company and Sense Theatre, & Project Manager at Tangram Theatre Company.

Justin credits includes work in theatre, radio, film and The BBC as an actor, producer, director, production manager, & casting director.

Check out OHMO here: OHMO Entertainment

1. Hi Justin, what have you just done?

Everything is going on at once this year, so none of my 2016 projects are at completion right now, but I am currently in a number of very exciting things.

2. You run a number of organisations: what are the reasons behind your creative projects?

I can't remember a time I haven't been involved in the arts. Even from a very young age, I was attending acting classes. My biggest passion in life is the arts. I always have a good reason behind each individual project.

3: What are the most important attributes for someone working professionally in the arts?

Genuine passion for what one does. If there's no passion behind the craft it's not true art, and people like me can see right through that.

4: There is a lot of debate about pay vs. no pay, passion versus payment etc...what are your thoughts on being paid for your art?

I believe that generally actors and all artists should be paid for their work. It is a skilled craft, and should be recognised as so. I'd sat on the odd occasion, volunteering your skills can be acceptable, as long as it's for good reasons. Unfortunately there are alot of people who think it's fine to take advantage of actors free labour, nor recognising it's how they are trying to make a living. You would not ask a builder, a taxi or any other profession to work for free, so that should be the case for actors too.

5: Who is your favourite artist and why?

The late Alan Rickman. Sadly the arts industry lost an incredible actor this year, but my main reason is that Alan Rickman was such a great spokesman for Actors.

6: Where do you see yourself in five years time?

I try to keep a five year plan so I have a very good idea where I will be in 5 years time. I do have a very ambitious musical planned for then, but all is hush hush for now haha.

7: What is your favourite place in Norfolk?

I think that may have to be Cromer in the summer. I'm not sure what it is about Cromer. Sitting on the pier some chips watching the sea moving in and out, just feels relaxing.

8: How do you relax of an evening after a hard day?

Reading or watching a good film.

9: Dog or cat?
Whilst I am a big animal lover all round, I will have to say Dog. I have a Jack Russell called Jake and a cuddle with him would also be a good answer to the previous question.

10: And finally, what is next for you?
I have a few projects lined up. In August I will be producing a film based on the Burston School Strike of 1914. I am project managing a theatre tour called Bex & Rex in the Beastly Brecks over the next few months. The next big project for me is a new national website aimed at actors. It will be an online resource for professional actors and will be a non profit venture. The site will launch next month.

Ten Questions with...RED Duck Producktions

Red Duck Producktions is a Norwich based company created and run by Hayley Evenett and James Ducker. They organise Scratch Shot new writing events. To date they are on their third event with a Shakespeare special in April and many more to come throughout 2016. Young, energetic and talented, the pair represent the very best of the wide variety of talent in the region.

Contact: redduckproduck@gmail.com


1: What is Red Duck all about?

REDuck is all about supporting and developing new work within East Anglia.

2: Why did you start Red Duck?

We had ideas of how to nurture this industry from the ground up in the region, we want to help to build a sustainable industry by creating an environment where creatives can network and promote their work, whether it be in development or the finished product.

3: What defines your work with Red Duck?

Even in our early stages, we have generated a buzz about the work we are looking to do. The writers feel comfortable trusting us with their writing. We have built from nothing and being two active performers ourselves we appreciate the need for a platform for all local creatives develop skills and showcase their work. This is what separates ourselves from other companies, we approach our events as an open book.

4: What issues do you think need to be addressed in the arts?

We would be lying if we didn’t say money (laughs). Exploitation i.e. being expected to work for free with no gain for the artist. Be this money, trade, skills or showcase of talent. The attitudes of artists towards lesser experienced and even just other artists. The industry is tough enough and we believe everyone should support each other. Our event, Scratch Shot promotes this in abundance by allowing each actor to work with new people on exciting new pieces.

The idea that certain professionals believe they know it all with regards to the industry and that they have learnt everything there is to learn. It’s a constantly evolving industry and we are always learning.

5: If you could change three things about the arts culture in the UK, what would they be and why?

More roles for women (role equality) – less ‘romantic interest’ and ‘mother’ roles – more women with grit!

The attitude that this is an unskilled and unrealistic profession.

“What have you been in that I would have seen?” – The idea that you have to be famous to be considered successful.

6: What are the core values that you think a theatre practitioner should adopt for success?

Always remember that the audience are the ones who pay the wages, keep you in work. Self-indulgent work that alienates the audience is harmful to the industry as it is putting people off with preconceptions that they will not enjoy it.

Respect your peers, no matter their experience, we can all benefit from learning.

Your image in the digital world is all important. This is where the people can see the real you and one wrong word could have a massive effect on your career. 

7: Where will Red Duck be in two years time?

We are already expanding our event calendar, with every event we are build a bigger base of actors and writers. REDuck will be at bigger venues and looking to produce new work in the area.

8: How do you relax of an evening?

On the rare evenings we have the chance to relax, it could be anything from binge watching shows on Netflix or Amazon to reading the pieces for the next Scratch. Entire evenings have been lost touring around Youtube (Honest Trailers is a particular favourite).

9: Dog or cat?

Cat (wigglefloof) we are looking to adopt one and call it Wash.

10: And what is next for you as individual actors?

Hayley – I am currently rehearsing with Stuff Of Dreams for their next regional tour ‘Forgotten’, a brand new play, portraying the haunting story of East Anglia’s greatest poet, George Crabbe.

James – My next project is a special performance of Simon Michael Morgan’s new work ‘The Zoo’ based on story of Charles Manson and watch as he ages in front of the audiences eyes. (*please insert what you would like here*). And this will produced as a special performance at our May ‘Scratch Shot’.

Red Duck are back on the 14th April with their Shakespeare Special at the Maddermarket Theatre in Norwich. Details here ~ Shakespeare Special

Ten things a day ~

For a very long time now I have always done ten things a day to further my career.

Baring illness, I have maintained this for nearly twenty years. It doesn't have to be huge things, like hiking to Nepal to get special butter, but can be a daily event that enables you, makes you feel good about yourself as well as creating a practice of routine that is vital to succeed as a self employed actor.

A common misconception is that fame is the end product of an acting career, that fame equates success. Well, this isn't true and a lot of professionals that I have interviewed for my 'Ten Questions with...' maintain that to be a successful theatre practitioner, one must be working, making work, honing work and making one's self available for work.

I believe that this is true. My ten things a day involves the obvious email applications to casting directors, to gigs that pop up on the many online forums such as Spotlight and CCP, but fame is not a driving motivation. Warhol said that we will all get our fifteen minutes (I certainly have known actors who have simply vanished after thinking they had 'made it' without any skills to continue) but I ain't after that. I want to continue to make  fun and entertaining work with like minded individuals. I want to live from my passion. I want nice holidays.

The idea that all this is in order to get interrupted at dinner for an autograph is rather off putting to me. I did a brief (very brief) moment on Doctor Who and received a lot of 'fan mail' ranging from the usual delightful children wanting to collect autographs of anyone and everyone associated with the series to grown men coming to my house, wanting to have a photo taken with me and an item of my clothing.

My point is that hunting fame is rather empty headed. But so many younger actors believe that the qualification of people en masse for how they look or talk is what it is all about. It really isn't. There are a lot of books on the craft of acting out there, as well as men and women who have really pushed the boundaries of perceived norms through the craft...that they have become famous from their work is clearly a by product and that again is the hook for me: the work, people noticing the work, people being moved and provoked by the work.

Ten things a day is a mantra, a thing that reminds me what I am and what I do. And sometimes, be fair to yourself, getting out of bed at 6am to switch on the laptop and stare at it for twenty minutes is part of your ten a day.

Victories for creatives come in all shapes and sizes.

Ten Questions with...Terry Molloy

Terry Molloy is an actor who lives just outside Norwich in Bawburgh. He has been a member of the cast of BBC Radio Four's radio soap opera, The Archers, playing Mike Tucker, since 1973 and has won awards for his work on radio. 

On television, Molloy is best known for playing the mad scientist Davros, the creator of the Daleks, in the long-running science fiction series Doctor Who.

He also plays Michael Lord in acclaimed sci fi web series 'Kosmos'.

Daisy and I met Terry when Daisy was a designer with Southwold Summer Theatres and he has been a friend ever since. Last year we invited him to be the patron of Strange Fascination Theatre to which he generously obliged. We are very grateful for his support and guidance.

1. Hello Terry, I hope you are well on this glorious day!  What have you been up to this week?

Ooof! Lying in bed, sweating and wheezing and coughing my way through a horrid bout of man flu! When I should have been enjoying a two day audio book recording! Such is an actors life!

2. You have had a very successful career as an actor, in television, stage, film and radio: How did you start out and what was your 'big break'?

Instead of going into the music business when I left Liverpool in the late 60s, and with a thirst for insecurity, I chose the 'acting business'...because it seemed easier to me, and there were more days off - that proved very true!

I don't think I ever had a 'big break'...just lots of little ones, that built up to help boost my career as it progressed! 

3. We all love Doctor Who and you have been a big part of it, playing the iconic villain Davros, but what went into your incarnation of him; how difficult was he to bring alive? 

Actually BEING an evil intergalactic villain in real life helped enormously! Always draw on the strengths within you!

The part was offered to me when I had no idea what the character was. I sat down and watched Genesis of the Daleks with Michael Wisher in the part, and went from there. Building the character vocally had a vast amount to do with Davros' success as a villain.

4. You also play Mike Tucker on the Archers, the much loved soap opera. Do you prefer radio work to live action?

I've always loved and preferred audio to any other media. For an actor, it enables you to really step outside yourself and take on parts you would never be offered on stage or film because physically you don't fit the image! On radio, the voice is the image created in the listener's mind!

5. What do you see when you look at the acting industry today?

I see a hard cruel road that new actors now have to travel, with such a lack of opportunities to develop their careers. There is no forging ground of the old Repertory System left anymore, as we had when I was in my 20s to learn the craft, with new writers.

We seem to be in a 'fast food' world of expectation, where everything has to come to you NOW....or at least before you are 25, or you are labelled as some sort of failure!

And the increasing pressure for talented, trained actors to work for free fills me with fury! If companies cannot afford to pay their talent, they cannot afford to produce the product! Respect is due to those who have that burning desire and need to share their creativity and emotions with an audience...whether it be stage, screen or audio!

6. The onus of a lot of public perception of acting has always been 'luck' ~ how much 'luck' have you had in your career?

It's amazing how 'lucky' you get when you put the hard work and effort into preparing for and chasing jobs down! 

But yes, I have had 'lucky' moments in my career...I got Davros because of a 'lucky' BBC strike that postponed production of Revelation of the Daleks, so it had to be remounted with a new director....I had been 'lucky' enough to have just finished doing a TV series with!

7. It has to be asked; tell us about the most embarrassing moment of your career (if you can!!)

1970 - The Old Victoria Theatre, Hartshill Road, Stoke on Trent.
A Theatre in the Round Production of Under Milk Wood.

As the performance came towards its close, the main stage was occupied by the two narrators while the rest of us cast were sprinkled up the stairways among the audience with an independent spotlight that came on as we each gave our final speeches....we had all finished our speeches and relaxed in the comfortable enveloping darkness as the focus drew toward the final lines from the narrator on stage.

An inexplicable mistake in the lighting box suddenly brought up my spotlight, as I sat on the stairs among the audience with my finger firmly planted up my nose!

Be ever vigilant!

8. If you were able to speak to a younger version of yourself, what advice would you give him?

Be true to yourself. 
Relax and ENJOY being who you are.
Follow your gut feeling about people and work opportunities.
Do not be swayed by either blandishments or criticism.
Be always honest, but know humility.
Mostly...have fun!

9. How do you like to spend your spare time?

Asleep! And if there is a beach nearby, asleep on a beach with the sound of the sea in my ears.

10. And finally, what's next for you?

This year I already have a large number of Conventions and workshops booked, both here and in the US. There are several audio projects coming up but sadly no theatre as I have barely time between one event and another to rehearse and perform (I dearly miss doing theatre). 

Apart from that, like the rest of us, I await the that call from my agent!

The Maddermarket Theatre, Norwich.

Norwich has a number of superb theatres that are not only hubs of social activity and entertainment, but valued places of community history. The Maddermarket shines amongst these as a wonderful space with a fascinating past.

The Maddermarket Theatre is located in St. John's Alley in Norwich, Norfolk. It was founded in 1921 by Nugent Monck.The Maddermarket Theatre opened in 1921 and was the first permanent recreation of an Elizabethan Theatre. Today it is an amateur theatre insomuch as actors are not paid to perform, however it has some employed members as well as acting as a receiving house for professional companies. It is a superb space (I have performed there three times with visiting company Baroque Theatre, as Rupert in 'Kindly Leave the Stage', Sherlock Holmes and as Dr. Montague in 'The Haunting of Hill House.). The acoustics are some of the best I have ever experienced, and one does get a real sense of the other world there, as if all the ghosts of past shows somehow remain to watch as you perform.
Productions run throughout the year and the set and costumes are superb. They also welcome volunteers as front of house staff and as actors for their in house productions. Contact them via: Maddermarket

The following from Wikipedia: 

Monck founded the Norwich Players, an amateur dramatic society, in the early years of the Twentieth Century. They first performed in his house, then at the Music House in King Street. Their success led to him purchasing an eighteenth-century former Catholic chapel in St John Maddermarket in Norwich, which was converted into the Maddermarket Theatre in 1921. The conversion took six weeks to complete with actors rehearsing and then helping to decorate it. It was intended to build a thrust stage but the dimensions of the building and lack of funds resulted in an end-stage being constructed instead. 

In the 1960s the Medieval buildings flanking the front of the theatre were demolished and a new foyer, bar, toilets, rehearsal room and box office were constructed in a very brutal "modern" style. The site was overgrown with madder plants, some of which were donated to Strangers Hall medieval gardens, who in turn gifted the Theatre its very own madder plant in 2007. Many of the Elizabethan details were covered over the years and the permanent half-timbered set was often covered-over with conventional scenic flats.

When Dave Harris became Artistic Director, he asked if it were possible to re-construct the stage giving it the thrust as was intended by Monck in the 1920s. This not only involved adding-on an extra seven feet of stage in the form of a half hexagon but also rebuilding the gallery and re-arranging the seating in the front stalls. Despite pessimistic predictions of a great loss of seats only ten seats at the rear of the gallery have been lost. Removal of unnecessary gangways has allowed the stage to be greatly enlarged without any loss of stalls seats (in fact they gained an extra wheelchair position).

The gallery has been reconstructed with a steeper rake and with the original curved tiers re-created. The 1930s cinema seats have been retained in all parts of the 'house'. It now seats 310.

All the new work was done to match the 1920s Tudor style of the rest of the original theatre, which is a Grade II 'listed' building. The opportunity was taken to replace the 1960s house-lights with lanterns in order to look more in keeping with the rest of the decor. New front of house lighting positions have been provided and new cable-runs have been concealed in the new floors. The Council's City Works Department built the stage and a seating contractor moved the seats. All other work was done in-house.

All the work was done between productions and during a summer closure of approximately six weeks and the total cost was about £10,000. During the autumn, the original permanent set was restored and was first used for a production of Bartholomew Fair, when one of the original Monck painted curtains was used again.

Stuff of Dreams Theatre present 'Forgotten' by Ray Rumsby ~

One of the best theatre companies in the region, Stuff of Dreams Theatre are about to embark on a new tour. This from their website ~

'Based in East Anglia, the Stuff of Dreams Theatre Company was founded in 2012 to tour high quality theatre across the region. We provide a platform for emerging talent in all areas of theatre including performers, managers and designers. Our family has grown into a core team of eight. We have worked with over twenty five actors, including some who have remained with the company to take on a variety of roles. We run on a shared passion for brilliant theatre and a lot of tea and biscuits.

Over the last three years we have toured to twenty different venues, returning over and over again to many of them. We have performed four original shows, including in 2015 our first Christmas production ‘The Blacksmith Who Chased the Moon’ by Anthony Cule. In addition we have become part of the rural touring programme run by Creative Arts East and have been awarded a grant by Arts Council England for our upcoming tour of the new play ‘Forgotten’ by Ray Rumsby. ‘Forgotten’ will tell the story of the life of the Suffolk poet George Crabbe, who wrote the original Peter Grimes and embarks on a 17 date tour in April 2016.

We have become increasingly interested in the stories and people who have lived and worked in our beautiful region. Our East Anglian heritage encompasses many fascinating and diverse tales that are crying out to be told. The ones that are known, we determine to shine a different and original light upon. Those that time has ‘Forgotten’ we reveal to new generations. Rich history forges the future of our company, local myths provide the basis for stories that unfold on stages and in village halls both near and far. In 2017 we will bring ‘Anglian Mist,’ an exciting cold war thriller that explores the legends surrounding Orford Ness, to as many venues as possible.'

Booking details are available here:

http://www.stuffofdreamstheatre.com/aboutus/

Gender roles in the theatre and film ~

On International Women's Day, I have been looking at a lot of very difficult statistics that see women wholly underrepresented in film and theatre especially. Whilst I am not a big shot Hollywood producer with a budget of millions and a trend to honour so as not to rock the boat, I sincerely do think that positive change can be effected via one's own theatre and film projects. 

Changing gender stereotypes and hitting those apparently deep rooted socialistic prejudices can happen at grass roots level. Lead by example to effect change. As a theatre director and writer, I think that if you are a director you have a duty to change the sex of a part without prejudice ~ if you are a writer/director, then create roles for women that challenge gender stereotypes. 

For example, could we have a female Sherlock Holmes? Of course we could. Why not? The role is famous due to the nature of it's writing. Holmes is a creature beyond the realm of the everyday, a person that has a devastating intellect. That to me could easily be a woman or a man. Of course fans would argue that then it is not Sherlock Holmes, that it becomes different, new, a twee attempt to satisfy some pc social media trend. But I don't think so. 

You take a role and simply change the sex and you create an interesting dimension, you have a woman playing a famous part that was written for a man by a man. That to me is fascinating. How would a woman tackle that? Change the references to the character being a man, so 'he' is replaced by 'she' and so on. 

What is achieved, what is created?

The other thing to do is to write more roles that challenge gender stereotypes; In my forays into new writing with SFT we actively take a male role and give it to a woman.
Our next immersive mystery does just that, Sammy Wilder is a film noir PI, a genre that is used to simply having femme fatales or matriarch figures to accommodate women in them. Sammy is a woman, and not a blonde twenty something.

We have cast an older actor in the role, who can still have desires, dreams, romances and strengths, a real character that does not have to satisfy the 'male gaze'. There is beauty in that. And it still entertains.
This is interesting to me and real, if theatre is a reflection of our everyday dressed up as adventure, romance or whatever genre you wish to tag upon it, truth must be valued as much as story. 

In our Bond parody show, James Frond was a bumbling idiot, saved at every turn by his secretary, Pamela Hand, the real secret agent. It is obvious to me to do such things and I always welcome advice and guidance on our shows, from female and male actors.

I'm not bragging about any of this, I'm merely pointing the ease with which female actors can achieve further in the theatre, when more and more writers and directors take what is seen to be a risk and goes with it.

So today on International Woman's Day, have a think about your art and how best you can serve the equality that is lacking in theatre, in film and other artistic forms. What would happen if you produced King Lear with a woman as Lear, or did a silly murder mystery with a female Bond?
I can tell you; the audience would be left thinking deeply and would be provoked to discussion and above all, entertained, which is what good theatre is all about.

#internationalwomensday#actors.

Being paid for your art ~

Often, I come across individuals on social media passing themselves off as industry types, whilst woefully contributing to the ever declining regard for art as a viable business.

I believe in paying for a creative's time and ability.

The reason for this is simple; basic economy.

You pay an artist to make art and that artist can make more art, living off it primarily. That's the dream. Yes, we all know that making art transcends money: but then eating is as old as the desire to make art too. Guess what? Food on the table costs money.

Recent threads on facebook with individuals who have no credentials to speak of save membership to free Facebook sites, are clogging up the industry with this nonsense. The old chestnuts were all there: 'I'm doing it for the love' - 'you've sold out' - 'I'm creating opportunity' and 'if you want to be paid to act, go work in Hollywood'.

Love for one's work is why payment for it is paramount. Without being respected enough to be paid, we cheapen the art, we belittle the industry, we kill the very thing we love. We disrespect ourselves too. Now I ain't talking about amateur dramatics, that's a hobby, that's a great breeding ground for talent, that's separate to the industry in terms of being paid and doing it for fun.

And it's like anything, if you don't pay for a thing, you can't have it.The theatre especially is an industry that requires skill, panache, an appreciation of craft and form in order to tell a story well. Those who live from it, who have that drive to live from it, who love it enough to live from it, well, they need to be paid for it.

Alas, it's the way of the world. I wish it was free, like the NHS should remain. I believe art is as important to humankind as free health care and free education. But it's not free. To live from it one needs payment. That's my point. We don't have that mentality to make those that create custodians of art, taking us all as a society down the wide path of enlightenment. Imagine that, national holidays where an artist is celebrated, where the cornerstones of our culture are artistically based: not money, not greed, not material advancement, not religion, but art, love of art, love, freedom, truth...houses and parishes given to artists from established Galleries like the Tate, from established Theatres like the National, like the Church of England ~ 'You are an artist in this medium, here is an allowance to live, share and teach art to others, go, go and be creative...' yes, of course you can receive grants to live and work as an artist, but my point is that being an artist is not recognised as a fundamental fabric of culture, subsidised by the State on every level...but I digress. 

There is a lot of mediocrity.

There are time and money constraints in professional theatre, making one's passion all the more tempered with understanding and discipline. The film industry is rife with fly by night cowboys who do not pay: I know of several 'filmmakers' in East Anglia who not only decline paying performers, but refuse to: their belief being 'actors are two a penny, why should I pay them when the money can go on more important things?'

Through clenched fists, explaining to these people that the experience is all encompassing is one thing. But to try to make them see the foolhardiness of their economy is another. You pay peanuts, you get monkeys. Standards decline. We are hobbyists finally.

If you don't pay your creatives, it quickly becomes a sloppy undertaking, a choppy sea of loss of focus. Of course it does. Time is money. When you have people working for you, you get working properly to a schedule, you do your homework, you are less inclined to waste people's time. Invariably, factoring money into a project sobers one up from the giddy heights of 'creation' - a true artist can temper their passion with a process and once process becomes consideration, a budget is part of that.

Training does not mean success, nor talent. But I champion any actor or art maker that has a process, that sees art as valuable beyond the self absorbing maxims of ego (the recent thread that prompted this entry cited: 'I'm trying to make a voice' - great, wonderful) and creates opportunity beyond that of the art maker. A path of enlightenment.

Look, art is universal and we humans have millions of ways to express it. But paying for your creatives time and talent secures the future of it, in all its mediums.

Budgeting for film was a class I undertook way back at Cheltenham, on the film course there, and certainly, a recent student filmmaker I worked paid all very well, having factored pay into the budget. A breath of fresh air.

But these people are few and far between: and that's awful. My heart sinks every time I see, 'expenses only' or 'exposure' or dear god, 'I want someone who is passionate about this film...no pay' - I'm bloody passionate. I've been working for twenty years. Passion goes hand in hand with profit for me and my people. It can be done, with consideration and focus, respect and patience. For all of us, for the future.

Join us. The water is lovely. And look, afterwards, we can afford to go for dinner.

‪#‎passionandprofit‬

@StrangeFas

(pic by P.Goldsmith)

Ten Questions with ~ Paul Andrew Goldsmith, actor.

Paul is a professional actor and one third of Strange Fascination Theatre.

He is married, has three children and lives in Wymondham.

1. Hi Paul, what have you just done?

Recently finished a UK tour as Sherlock Holmes and filming for an upcoming web series. 

2. Why did you decide to become a professional actor?

I've held a passion for performance since a child. As I got older I realised it was a passion burning inside that I couldn't quell so I began taking steps to turn that passion into action. I realised that professional acting wasn't just WestEnd, TV and Film and that with determination you can create the opportunity to forge a career from it. 

3. There is a debate about pay vs. no pay, passion vs. payment, what is your opinion on being paid for your art?
What shouldn't one be paid for their talent, skill or craft? It costs a lot of money just to be a professional actor, whether training, marketing, auditions and so on so recompense should be forthcoming. It is a business, an industry and that requires payment. I've paid my dues both financially and physically to be a professional. If not I'm just doing it for fun. 

4. What is the most important attribute for a theatre professional in the 21st Century?
Ambition. One must be ambitious enough to push the boundaries, to challenge perceptions and take risks to achieve goals. 

5: Who is your favourite artist and why?

Sheridan Smith. To me she shines as an example of an actor who truly invests in a character and presents the full package. She also shows that talent comes above background and formal drama school training. 

6: Where do you see yourself in five years time?
Fully generating an income from the arts. It's far from easy but I believe that by creating opportunity it's achievable. 

7: What is your favourite place in Norfolk?
My home. After that it's anywhere on the coast. 

8: How do you relax of an evening after a hard day?
Play with my kids, read scripts, play with characters by filming on an iPhone, write or watch films. 

9: Dog or cat?

Dog. They keep you fit. 

10: And finally, what is next for you?

Various Corporate gigs here and there and then preparing to tour 'A Midsummer Nights Dream' open air around Norfolk throughout the summer with Strange Fascination Theatre Company.

Ten Questions with...will be back with actor Terry Molloy.

A little bit about the contributors ~

Daisy Plackett ~ Theatre Designer.

Daisy lives in Norfolk and studied theatre design at Rose Bruford College. She has designed sets and props for numerous companies over the years, including exhibitions at the V&A museum as well as an Oscar nominated short film.

She is an avid gardener and walker, who loves a good rummage at the many car boots and antique fairs that happen all over Norfolk. Currently she has many commissions on the go as well as being the designer for Strange Fascination Theatre, the company she co -founded with her partner Simon and friend Paul Goldsmith.

Simon Michael - Morgan ~ Actor/Director and writer.

Simon is originally from Wales and studied film theory and art at Cheltenham before joining the Rep College, an independent theatre training school. He moved to Norfolk after he met Daisy on an acting gig in Germany. He has had a long career in the acting industry, as well as being a theatre director. He has to date directed off West End venues (Jacksons Lane and Barons Court) as well as rural site specific theatre for his company, Strange Fascination Theatre.

He is a published writer of speculative fiction and poetry and also loves a good rummage along with Daisy.

They live in North Norfolk with their cats, Millie and Sherry.

www.simonmichaelmorgan.co.uk

A Midsummer Night's Dream

Last year, our company Strange Fascination Theatre, embarked on our first open air production. We chose Shakespeare's 'A Midsummer Night's Dream' as it is very accessible to those perhaps unfamiliar with the scope of Shakespeare, as well as having some of the best known characters.

We performed with a five strong cast, each of us doubling or tripling up, whilst I directed. Now, I have heard it said that an actor cannot direct himself, least of all in something as complex as a Shakespeare, but I beg to differ.

SFT is a collaborative effort, we help each other. Whilst we all had different experiences of the play, our collective knowledge of it allowed for some terrific work from all. I directed in the conventional sense (an edited version that focused on the main two stories) whilst for the sections I was in, we would film the action, other actors would stand out and view what was happening. Our ethos is very much improv based anyway, so, with the lines secure, we would play about, find gags, detail action and discover threads of drama, all to then be tidied up in notes. Besides, we are self funded and we could not afford an actor to replace me at the time.

It worked well but I do maintain that it's success was due to it being a smaller cast, a cast that had worked with each other a lot before. For our larger productions, I do direct solely, and this year is no exception.

Our larger version of last year's Dream will be happening at venues right across Norfolk, from Wymondham to Burnham Market. It will feature a larger cast and new set design by Daisy, 
new actors are joining us as well as our established repertory of performers.

I do hope you can make it, it all kicks off in late May, so keep a look out on our face book page (Strange Fascination Theatre) and Twitter: @StrangeFas

#believethedream

Red Duck Productions present Scratch Night ~

Red Duck Productions are holding a third scratch night this March 10th at 19:30 at the Maddermarket Theatre in Norwich.

Fancy yourself as a writer for the stage, television or big screen? Maybe you are a sketch writer or have ideas for a radio play?

Red Duck are taking submissions of all kinds of creative writing to be performed in a rehearsed reading situation, live onstage.

They are always looking for actors for these pieces too, so get in touch via the link below.

Tickets are £5 for audience members and free to contributors.

Full details available here: Submissions and Tickets

Or from the box office of the theatre on the night.

See you there!

SFT

Hello, welcome to Theatre and Arts Culture : Norfolk.

Happy St. Davids Day! As a Welshman finding himself in glorious Norfolk, I am always happy to see the daffodils in bloom at this time of year. For me they show new life, the new year finally beginning, with summer just around the corner.

And as a professional theatre practitioner, I am of course neck deep in all things theatre. I myself am a professional actor and director of over fifteen years in the industry. I run  Strange Fascination Theatre Company. It was formed in June 2014 by myself, my partner Daisy Plackett and local actor Paul Andrew Goldsmith. Our goal is paid work for creatives in Norfolk. We produce immersive plays in a variety of genres, from horror to comedy, mystery to melodrama, improvisation to promenade theatre.

We recently performed open air Shakespeare too, which we are taking to a number of venues this summer.(Follow us to find out more ~ Twitter @StrangeFas)

The aim of this blog however, is to offer reviews and reaction to the bustling hub of art and theatre that is Norfolk. Here you can find a lot of what is going on, but please contact me if there is something specifically you'd like to promote: I'm always eager to connect with more artists in the region!

For now, have a great week and catch you soon!

Best,

Simon at Fabulous Norfolk